Albrecht Durer (Durer) Albrecht - German painter and chart. The founder of the art of the German Renaissance. In intensely expressive forms, fantastic images, he embodied the expectation of world-historical changes (a series of engravings "Apocalypse", 1498), expressed humanistic ideas about the meaning of being and the tasks of art (the so-called master engravings, 1513-14). He created full of strength and energy images of a man of the Reformation era (“Portrait of a Young Man”, 1521, diptych “Four Apostles”, 1526), people from the people (engraving “Three Peasants”). Known as a subtle, observant draftsman (over 900 drawings). Art theorist ("Four books on the proportions of man", 1528).
This is what the arts serve to enable the knowledge of good and evil.
Durer Albrecht
Albrecht Dürer born May 21, 1471, in Nuremberg. The future master was the son of a silversmith, a native of Hungary. He studied first with his father, then with the Nuremberg painter and engraver Michael Wolgemuth (1486-90). Mandatory for obtaining the title of master "years of wandering" (1490-94) he spent in the cities of the Upper Rhine (Basel, Colmar, Strasbourg), where he entered the circle of humanists and book printers. In Colmar, not finding Martin Schongauer alive, from whom he intended to improve in the technique of engraving on metal, he studied his work, communicating with his sons, also artists. Returning to Nuremberg in 1494, Albrecht Dürer married Agnes Frey and opened his own workshop. Soon he set off on a new journey, this time to northern Italy (1494-95; Venice and Padua). In 1505-07 he was again in Venice. Having met Emperor Maximilian I in 1512, apparently, he began working for him at the same time (until his death in 1519). In 1520-1521 he visited the Netherlands (Antwerp, Brussels, Bruges, Ghent, Malin and other cities). Worked in Nuremberg.
Creation. Durer and Italy
Durer's creative path coincided with the culmination of the German Renaissance, the complex, largely disharmonious nature of which left an imprint on all of his art. It accumulates the richness and originality of German artistic traditions, constantly manifested in the appearance of Dürer's characters, far from the classical ideal of beauty, in preference for sharp character, in attention to individual details. At the same time, contact with Italian art was of great importance for Dürer, the secret of harmony and perfection of which he tried to comprehend. He is the only master of the Northern Renaissance, who, in terms of the orientation and versatility of his interests, the desire to master the laws of art, the development of perfect proportions of the human figure and the rules of perspective construction, can be compared with the greatest masters of the Italian Renaissance.
With true knowledge, you will be much bolder and more perfect in every work than without it.
Durer Albrecht
Drawings by Albrecht Dürer
Dürer was equally gifted as a painter, engraver and draftsman; drawing and engraving occupy a great deal of his time, sometimes even leading place. The legacy of Dürer as a draftsman, numbering more than 900 sheets, can only be compared with the legacy of Leonardo da Vinci in its vastness and diversity. Drawing was, apparently, a part of the everyday life of the master. He brilliantly owned all the then known species graphic technique- from silver point and reed pen to Italian pencil, charcoal, watercolor. As for the masters of Italy, the drawing became for him milestone work on the composition, including sketches, studies of heads, arms, legs, draperies. It's a learning tool characteristic types- peasants, elegant gentlemen, Nuremberg fashionistas. His famous watercolors "A Piece of Turf" and "The Hare" (Albertina, Vienna) are made with such intentness and cold detachment that they could illustrate scientific codes.
creative maturity. Painting 1494-1514
The first significant work of Albrecht Dürer is a series of landscapes (watercolor with gouache, 1494-1495) made during a trip to Italy. These thoughtful, carefully balanced compositions with smoothly alternating spatial plans are the first "pure" landscapes in the history of European art. An even, clear mood, the desire for a harmonious balance of forms and rhythms determine the nature of Dürer's paintings of the late 15th century - early 2nd decade of the 16th century; such are the small altar "Nativity" ("Paumgartner Altarpiece", c. 1498, Alte Pinakothek, Munich), "Adoration of the Magi" (c. 1504, Uffizi), where Dürer unites a group consisting of the Madonna and the three Magi, in a calm circular rhythm, the smoothness of the silhouettes, emphasized by the motif of the arch, which is repeated many times in the architectural scenery.
One of the main themes of Dürer's work in the 1500s was the search for ideal proportions human body, the secrets of which he was looking for, drawing nude male and female figures (Dürer was the first in Germany to turn to the study of the nude), summing them up in the copper engraving "Adam and Eve" (1504) and the large pictorial diptych of the same name (c. 1507, Prado) .
By the years creative maturity Durer includes his most complex, harmoniously ordered multi-figured pictorial compositions - made for one of the Venetian churches "Feast of the Rosary" (1506, National Gallery, Prague) and "Adoration of St. Trinity” (1511, Kunsthistorisches Museum, Vienna). “The Feast of the Rosary” (more precisely, “The Feast of Rose Wreaths”) is one of the largest (161.5x192 cm) and most major in terms of intonation painting work by Dürer; it is closest to Italian art not only in motives, but also in vitality, fullness of images ( for the most part portraits), the full sound of colors, the breadth of writing, the balance of the composition. In a small altar painting “Adoration of St. Trinity, a host of saints, Church fathers, angels soaring in heaven, are united, as in Raphael's "Disputation", by rhythmic semicircles, echoing the arched completion of the altar.
Portraits and self-portraits of Dürer
The most important place in the pictorial heritage of Dürer was occupied by a portrait. Already in the early portrait of Oswald Krehl (c. 1499, Alte Pinakothek, Munich), Dürer appears as an established master, brilliantly conveying the originality of character, internal energy models. Dürer's uniqueness lies in the fact that self-portraits occupy a leading place among his early portraits.
The craving for self-knowledge, which led the hand of a 13-year-old boy (“Self-portrait”, 1484, drawing with a silver pin, Albertina, Vienna) was further developed in the first three pictorial self-portraits (1493, Louvre; 1498, Prado; 1500, Alte Pinakothek, Munich), moreover, in the last of them, the master is depicted strictly in front, and his right face, framed long hair and a small beard, reminiscent of the images of Christ the Pantocrator.
Durer engravings
Albrecht Dürer equally successfully worked in the field of woodcuts (wooden engraving) and in the field of engraving on copper. Following Schongauer, he turned engraving into one of the leading art forms. In his engravings, the restless, restless spirit of his creative nature was expressed, which worried him about dramatic moral conflicts. A sharp contrast to the early, calm and clear paintings was already his first large graphic series - 15 woodcuts on the themes of the Apocalypse (1498). In his engravings, Dürer to a much greater extent than in paintings, relied on purely German traditions, manifested in the excessive expression of images, the intensity of sharp, angular movements, the rhythm of breaking folds, swift, swirling lines. Fortune is the image of Fortune on one of his best engravings, which entered the history of art under the name "Nemesis" (early 1500s).
Characteristic of the German artistic tradition an abundance of details, an interest in genre details are noticeable in Durer's most calm and clear in mood graphic cycle, The Life of Mary (c. 1502-1505, woodcuts). Dramatic expression distinguishes two large graphic cycles dedicated to the passions of Christ, the so-called. "Great Passions" (woodcuts, c. 1498-1510) and two series of "Small Passions" (engravings on copper, 1507-13 and 1509-11); they were most famous among contemporaries.
The most important place in creative heritage Durer was occupied with engravings "Knight, Death and the Devil" (1513), "St. Jerome in the cell "(1514)," Melancholy "(1514), forming a kind of triptych. Made with virtuoso subtlety in the technique of engraving on copper, distinguished by laconicism and rare figurative concentration, they were apparently not conceived as a single cycle, but they are united by a complex moral and philosophical subtext, the interpretation of which is devoted to extensive literature. The image of a stern, middle-aged warrior moving towards an unknown goal against the backdrop of a wild rocky landscape, despite the threats of Death and the Devil following on his heels, was apparently inspired by the treatise of Erasmus of Rotterdam "The Guide to the Christian Warrior". St. Jerome, having delved into scientific pursuits, appears as the personification of spiritual introspection and contemplative life. The majestic winged Melancholy, immersed in gloomy reflection, surrounded by a chaotic heap of craft tools, symbols of the sciences and fleeting time, is usually interpreted as the personification of the restless creative spirit of man (the humanists of the Renaissance saw in people of a melancholic temperament the embodiment of the creative principle, the "divine obsession" of genius).
Later works
Working after 1514 at the court of Emperor Maximilian I, Dürer was loaded with official orders, the most time-consuming of which was the creation of a colossal, painted on 192 boards, painted lithography “Arch of Maximilian I” (in addition to Dürer, a large group of artists participated in the work on it).
The beginning of a new creative upsurge is associated with the trip of Albrecht Dürer to the Netherlands (1520-1521), where, in addition to numerous sketches, he made a number of excellent graphic portraits(“Erasmus of Rotterdam”, charcoal, 1520, Louvre; “Luke of Leiden”, silver pencil, Museum of Fine Arts, Lille; “Agnes Durer”, metal pencil, 1521, Engraving Cabinet, Berlin, etc.). In the 1520s, the portrait became the leading genre in Dürer's work and in copper engraving (portraits of the largest humanists of his time - Philipp Melanchthon, 1526, Willibald Pirckheimer, 1524, Erasmus of Rotterdam, 1526), and in painting ("Portrait young man", 1521, Art Gallery, Dresden; "Portrait of a Man", 1524, Prado; "Hieronymus Holtzschuer", 1526, Art Gallery, Berlin-Dahlem, etc.). These small bust portraits are distinguished by classical perfection, impeccable composition, chased silhouettes, spectacularly complicated outlines of wide-brimmed hats or huge velvet berets. compositional center in them is given close-up a face sculpted with subtle transitions of light and shadow. In the light, barely noticeable facial expressions, the outlines of lips half-open or slightly curved in a smile, the gaze of wide-open eyes, the movement of frowning eyebrows, the energetic pattern of the cheekbones, a reflection of intense spiritual life emerges. The strength of the spirit, discovered by Durer in his contemporaries, took on a new dimension in his last pictorial work - the large diptych "Four Apostles" (1526, Alte Pinakothek, Munich), written for the Nuremberg City Hall. The huge figures of the apostles John, Peter and Paul, the evangelist Mark, personifying, according to some of Dürer's contemporaries, the four temperaments, are interpreted with such monumentality that they can only be compared with the images of the masters of the Italian High Renaissance.
IN last years During his life, Dürer published his theoretical works: “Guide to measuring with a compass and ruler” (1525), “Instruction for strengthening cities, castles and fortresses” (1527), “Four books on human proportions” (1528).
Dürer had an enormous influence on the development of German art in the first half of the 16th century. In Italy, Dürer's engravings were such a success that even their fakes were produced; many people experienced the direct impact of his engravings Italian artists, including Pontormo and Pordenone.
Albrecht Dürer - quotes
This is what the arts serve to enable the knowledge of good and evil. 
With true knowledge, you will be much bolder and more perfect in every work than without it.
Albrecht Dürer is a German artist whose achievements have left a mark on science and art. He painted pictures, created drawings, engravings. The master was fond of studying geometry and astronomy, philosophy and urban planning. The memory of a talented artist is calculated in a large number of works. The scope of the legacy left by Albrecht Dürer is comparable to the collections and.
Childhood and youth
The Renaissance figure was born in Nuremberg on May 21, 1471 in a family of Hungarians who migrated to Germany. The German painter is the 3rd child of the 18 jeweler's children. By 1542, only three Dürer brothers survived: Albrecht, Endres and Hans.
In 1477, Albrecht was already a student of the Latin school, and at home he often helped his father. The parent cherished hopes that the boy would continue the family business, but his son's biography turned out differently. The talent of the future painter became noticeable early. Having received the first knowledge from his father, the boy set out to study with the engraver and painter Michael Wolgemuth. Durer Sr. was not long indignant and sent Albrecht under the care of an idol.
Wolgemuth's workshop had impeccable reputation and popularity. The 15-year-old youth adopted the skills of painting, drawing and engraving on wood and copper. The debut was "Portrait of a Father".
From 1490 to 1494, Albrecht traveled around Europe, enriching knowledge and gaining experience. In Colmar, Dürer worked with the sons of Martin Schongauer, whom he did not have time to catch alive. Albrecht was a member of the circle of humanists and book printers.
On the journey, the young man received a letter from his father, announcing an agreement with the Frey family. The noble parents agreed to marry their daughter Agnes to Albrecht. He got new status and started his own business.
Painting
Dürer's creativity is boundless, as is the range of ideas and interests. Painting, engraving and drawing became the main activities. The artist left a legacy of 900 sheets of images. In terms of the volume and diversity of his works, art critics compare him with Leonardo da Vinci.
Dürer worked with charcoal, pencil, reed pen, watercolor and silver point, focusing on drawing as a stage in creating a composition. Big role Religious themes played in Dürer's work, which corresponded to the trends in the art of that era.
Non-standard thinking, a penchant for research and experimentation allowed the master to constantly develop. One of the first orders was the painting of the house of the townsman Sebald Schreyer. Learning about successful work artist, Elector of Saxony Frederick the Wise commissioned him to have his portrait, and this example was followed by the patricians of Nuremberg. Durer followed European tradition, depicting the model against the backdrop of a landscape in a three-quarter spread and working out in detail the smallest nuances of the image.
Engravings occupied a central place in the activity of the creator. Cycles of works appeared in his workshop in Germany. Debut copies created with the help of Anton Koberger. Nuremberg disposed to experiments and searches, so the master applied new techniques in his homeland.
The work sold well. The painter collaborated with city publications, creating images to order. In 1498, he made woodcuts for the publication of the Apocalypse, which brought the author fame in Europe. Dürer was accepted into society by humanists, whose leader was Kondrat Celtis.
In 1505, the artist created an altar image for the San Bartholomew Church in Venice called "The Feast of the Rosary". The plot describes Dominican monks praying with a rosary. In the center of the image is a baby.
Italian school influenced the style of the painter. He improved the technique of describing the human body in motion and complex angles. The artist understood the importance of the flexibility of lines and got rid of the Gothic angularity inherent in his manner. He received many commissions for altarpieces. The Venice Council offered Dürer a large reward so that the creator would remain in Italy, but he was faithful to his homeland. Dürer's fame grew rapidly and soon made it possible to purchase a house in Zisselgasse.
The Adoration of the Magi was written on his return from Italy and shows the features inherent in Italian Renaissance. The picture describes biblical story. Durer's works, created in the period from 1507 to 1511, are distinguished by symmetry, pragmatism, and a strict manner of depiction. Durer followed the wishes of his customers and adhered to a conservative tradition that did not limit the cycle of his Venetian works.
The meeting with Emperor Maximilian I became a landmark for creative figure. Having familiarized himself with the works of the painter, the ruler ordered the production of his own portrait. But he could not pay right away, so he appointed the artist an annual award. She allowed Dürer to move away from painting, to take up engraving and scientific research. The "Portrait of Maximilian" is known throughout the world: the crowned lady is depicted with a yellow pomegranate in her hands.
German artist influenced art Northern Europe in the 16th century. He extolled the genre of self-portrait, preserving the image for posterity. Interesting fact: Dürer amused vanity with his own portraits. He perceived such images as a way to emphasize status and capture himself on a specific life stage. This duplicates the modern possibilities of photography. Interesting are his self-portraits with holly and in clothes trimmed with fur.
Dürer kept drawings created during the period of study, therefore graphic works masters today constitute one of the largest collections in the world. Working on the image, Albrecht Dürer was not limited by the wishes of the customer and revealed himself in it to the maximum. He felt the same freedom when creating engravings.
"Knight, death and the devil" - the artist's most famous engraving, symbolizing life path person. Faith protects him from temptations, the devil is waiting for the moment to enslave him, and death is counting down the hours until death. "The Four Horsemen of the Apocalypse" is a work from the biblical cycle. The winner, War, Famine and Death sweep away everyone and everything on the way, giving everyone their due.
Personal life
In 1494, Albrecht Dürer, at the insistence of his father, married Agnes Frey, a representative of an old family. As often happened in those days, young people did not see each other before the wedding. The only news from the groom was a self-portrait. Durer was not a fan of the institution of the family and devoted himself to creativity. The wife remained cold to art. Perhaps this is the reason that the personal life of the master is associated exclusively with his work.
Immediately after the wedding, Albrecht left his young wife, leaving for Italy. He remained unemotional towards his wife throughout life together. Durer received recognition, acquired a status and position in society, but never reached an agreement with Agnes. The union did not bring offspring.
Death
After the death of Maximilian I in 1520, Dürer's premium ceased. He undertook a trip to clarify the circumstances and, while in the Netherlands, fell ill.
Biographers suggest that the artist was struck down by malaria. Attacks of the disease tormented the painter until last days. 8 years later, on April 6, 1528, the painter died in his native Nuremberg.
Artworks
- 1490 - "Portrait of a father"
- 1490-1493 - " miraculous rescue drowned boy from Bregenza
- 1493 - "Behold, man"
- 1496 - "Portrait of Frederick III the Wise"
- 1496 - "Saint Jerome in the Wilderness"
- 1497 - "Four Witches"
- 1498 - "Apocalypse"
- 1500 - "Self-portrait in clothes trimmed with fur"
- 1504 - "Adoration of the Magi"
- 1507 - "Adam and Eve"
- 1506 - "Rose Wreath Festival"
- 1510 - "Assumption of the Virgin"
- 1511 - "Adoration of the Holy Trinity"
- 1514 - "Melancholia"
- 1528 - "Hare"
Dürer Albrecht (1471-1528), German painter.
Born May 21, 1471 in Nuremberg. At first, the young man was taught jewelry by his father, and in 1486 he entered the painting workshop of M. Wolgemut, where he adopted the principles of late Gothic. The works performed by Dürer during the years of study wanderings along the upper Rhine (1490-1494) are typical of German art XV century, combining the features of Gothic and Renaissance.
Visits to Italy (1494-1495 and 1505-1507) and the Netherlands (1520-1521) increased Durer's interest in science. He studied nature in depth and developed the doctrine of proportions. In addition to the huge number fine works Dürer left a great theoretical legacy ("Guide to Measurement", 1525; "Instruction for the Fortification of Cities", 1527; "Four Books on Human Proportions", 1528). The artist works a lot on the landscape (“View of Trient”, watercolor, 1495; “House by the Pond”, watercolor, circa 1495-1497).
His compositions are clear, logical and precise (The Dresden Altarpiece, circa 1496; Paumgartner Altarpiece, 1502-1504; Adoration of the Trinity, 1511). In The Adoration of the Magi (1504), he uses coloristic achievements Venetian school. But unlike the emotional Italians, Dürer is gothically harsh and detailed.
In the series of woodcuts "Apocalypse" (1498), he turned to the theme of the end of the world, anticipating a time of change. In subsequent cycles - "Great Passions" (circa 1497-1511), "The Life of Mary" (circa 1502-1511), "Small Passions" (1509-1511), "Saint Eustathius" and "Nemesis "(1500-1503) - Dürer's skill reaches perfection. But the so-called workshop engravings of 1513-1514 are rightfully considered the pinnacle of his work. (“The Horseman, Death and the Devil”, 1513; “Melancholia”, “Saint Jerome”, both 1514).
Durer devoted a lot of time to the study of the nude figure, his interest in anatomy was of a scientific nature and was embodied in copper engravings ("Adam" and "Eve", 1504). He uses in engravings and traditional motifs. folk life(“Three Peasants”, about 1497; “Dancing Peasants”, 1514). Just as attentively, Dürer approaches the portrait (“Portrait of a Father”, 1490; “ Female portrait", 1506; "Portrait of a mother", 1514; "Portrait of a young man", 1521; "Portrait of Erasmus of Rotterdam", 1526).
In 1526 the artist creates latest work- pictorial composition-diptych "Four Apostles". Dürer won an honorary position in hometown, fame in Germany and abroad. He was friends with the most prominent scientists, received orders from the emperor, princes and wealthy burghers.
Albrecht Dürer - German painter and famous European woodcut master, one of the greatest Western European masters of the Renaissance, was born on May 21, 1471 from the birth of Christ in the city of Nuremberg. At a time when the apple orchards were blooming, and the smell of young greenery was in the air, another child was born in the Dürer family and the parents prayed to God to keep him alive. Obviously, at this time the Great and Almighty was in good location spirit and left a seal of blessing on the born baby, because of the 19 children that his mother Barbara Dürer gave birth to, in the end, only he survived.
Very early his conceited but very purposeful father, and little Albrecht himself, realized that he would not become a jeweler and would not prolong his father's work. The elder Dürer did not like this very much, because he spent almost half of his life to become a full-fledged citizen of Nuremberg, but he managed to see in his son a tendency to understand beauty, so he sent him to study with the leading Nuremberg artist Michael Wolgemut.
Under the direction of experienced craftsman young Dürer managed to master painting, but also the craft of engraving on wood and copper. Having completed his education, in 1490 he went on a trip to the cities of Germany, and then further, to Switzerland and the Netherlands. This trip took four years, which were very fruitful, because the young artist continued to improve in painting and the art of processing engravings. Returning to his native Nuremberg, young Albrecht almost immediately got married and started living in his own home. However, even a young wife could not stop him from traveling to Italy, which he undertook shortly after his marriage.
Introduction to art famous Italians Mantegna, Lorenzo di Credi, Polayolo and other masters, made an indelible impression on Dürer and spurred his desire to create for himself. He returns to his native city, full of ideas and plans, and the next decade of his creative life was the most eventful and fruitful. In the period from 1495 to 1505, a significant part of the engravings was created, which subsequently received worldwide recognition. In 1505, Dürer once again visits Italy, perhaps in the hope that this blessed land of artists and musicians will once again feed him with inspiration.
In 1520 he traveled to the Netherlands, where he became infected unknown disease that will torment him for the rest of his life.
Dürer - painter and graphic artist
For my not very short creative life Dürer left a rather rich legacy. Very interesting are his self-portraits, of which he painted several in different periods own life. These works not only reflect the change physical age and the growth of Durer's skill as an artist, but fix a change in his worldview as a person.
Albrecht painted his first self-portrait at the age of 13. This is a very simple silver pencil drawing of a sensitive young man. In the next “Self-Portrait with a Carnation” he is already 22 years old. This is a young man in smart clothes with well-groomed hair and an open-looking, bold look inherent in youth. Five years later, another “Self-Portrait” appears. On this canvas, Dürer is a successful man who managed to grab "fortune." Here he is more reminiscent of a wealthy burgher than an artisan or a person of art.
In 1500, Dürer wrote the famous “Self-Portrait in the Image of Christ.” Here, instead of the usual narcissism, there is the sobriety and directness of a person rich in intellect, and the image of Christ, the artist tries to express the idea that in his craft he is a creator akin to God.
During his stay in Venice, Dürer creates one of his most beautiful paintings, "The Feast of the Ropes". Its plot is taken from the mystical spiritual practice preached by the monks of the Dominican Order. They believed that reading a prayer with the help of a string helps Catholic believers to penetrate not only mentally, but also spiritually. Only instead of beads, which are used in other religions, Dominican monks present wreaths of scarlet and white roses. It is this moment that the artist depicts. The picture evokes a feeling of joy, celebration. This is one of best images Virgin Mary with baby Jesus.
The ruler of Venice offered Dürer to remain in the service, promising a decent reward for his art, but the artist returned to his homeland, where he met old age and death on April 6, 1528.
- Few people know that in recent years, Dürer has been fond of improving the defensive fortifications of cities and castles, and he is the author of a new type of fortification, which he called the bastion, or bastion.
Softened Dutch realism ideal forms Italian art. Franconian picturesque school, whose center was Nuremberg, retained the old manner of exceptional concern for the expressiveness of faces and petty fidelity to nature. One of its prominent representatives was Wolgemut, whose student was a man who was considered the true representative of all German painting of that era, Albrecht Dürer (born 1471, died 1528).
Albrecht Durer. Self-portrait at 26, 1498
The son of a townsman who had many children, he early years he had to feed himself, and the concern for food did not leave him all his life. During his celebrity years, Dürer was not a pauper; stories of this arose from a misunderstanding; but his position was very unenviable compared with the luxury in which the famous Italian artists lived. He was a man of genius, very educated, able to observe nature; his imagination is rich, his drawing is extremely good.
Dürer wrote both alfresco and oil paints, and gouache and watercolor paints, drew with a pen, charcoal, chalk, with rare skill engraved with a chisel on copper, on tin, iron, copper, made engravings with strong vodka, cut on wood and lime slate - in a word, his technique was extremely diverse. But for all his genius, he did not achieve the ideal beauty of forms and color. Italian painting. Dürer visited Italy twice, in 1494 and in 1506, but his nature was immune to impressions. Italian art. In 1520 he traveled also to the Netherlands; there he learned a lot.
Albrecht Durer. Paumgartner altarpiece (detail), c. 1503
With the exception of these trips, Albrecht Dürer spent his entire life in his native city. He worked tirelessly; the number of his paintings, drawings, engravings is very large. He did not receive encouragement, the source of his zeal for work was only spiritual attraction. The severity and angularity of Dürer's everyday environment was also reflected in his works; he took her as the material for them and cared not about beauty, but only about expressiveness, which with him often turns into rudeness. The nature of German life of those times is excellently conveyed by his works. IN religious paintings Dürer, like the Dutch, is usually dominated by realism. Among the best among them are the Feast of the Rosary, the Adoration of the Magi, the Martyrdom of 10,000 Christians (with Persian king Shapure), "Trinity".
Albrecht Durer. Worship of the Trinity. Altar of Landauer, 1511
Albrecht Dürer painted many portraits; of these, portraits of his teacher Wolgemut are especially famous, Emperor Maximilian and an excellent technical portrait of Hieronymus Goltzschuer. Dürer's drawings are very diverse both in themes and in the methods of execution. His engravings on copper and drawings on wood dispersed throughout Europe and contributed to the development of these art forms. He had many good pupils, so that the fame of the Nuremberg School lasted long after him.
